Frick, 2008, oil and enamel on canvas, 72x48, Tommy Knocker, 2007, Oil on silk, 68 x 43, Gizzard, 2007, Oil on Upholstery Material, 43 x 70, Factory, 2008, oil on fabric, 96x72, Big Wheel, 2008, oil on canvas, 41x32
Today I am performing as I paint highly articulated works in raw conditions with encyclopedic detail in hopes that I can provide evidence of their making in situ and engage the viewer in a visceral, otherworldly experience. Composite views of decrepitude become metaphors for bodily functions and reflect the political climate of our modern world. Wet, gloppy oil paint is loosely applied with control--in a manner in which subjects miraculously dematerialize and reemerge continuously. The additive painting approach mirrors the concept of gradual accumulation and provides an exhausting, claustrophobic sensation that raises questions regarding the complexity and saturated level of exchange in our modern world. As a culture, we’ve accrued so much wealth that we’re outsourcing. Nothing is being made except for art and we’ve attained a tryptophan-like overload, wallowing in the afterglow of our accumulations.give yourself some time to really take in these incredibly detailed paintings. read her very interesting statement in its entirety here and see video painting performances and loads more work here.
This year my painting style has changed. I’ve switched mediums (from working with artist-grade oil paint to left-over, industrial-grade paint salvaged from dumpsters) and am applying paint more loosely. To me, the melting of painting surfaces mirrors that of the economy’s deterioration. I feel as though I am painting the actual recession.